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Showing posts with label Battle of the exes. Show all posts
Showing posts with label Battle of the exes. Show all posts
Anna Nicole Smith's boyfriend-lawyer Howard K. Stern and Dr. Khristine Eroshevich were found guilty on two charges of conspiring to provide drugs to a known addict and using false names to obtain them Thursday.
Dr. Sandeep Kapoor was acquitted on all counts against him.
Eroshevich, a psychiatrist who flew to Smith's side in the Bahamas after her son's death in 2006, was also convicted on two other charges relating to a Vicodin prescription given to Smith.
The jury deliberated for 12 days before returned its verdicts in the trial that included two months of testimony,
Stern and the doctors were charged with conspiring to feed the reality TV star and Playboy model's drug addiction, and using false names to obtain the drugs over the last three years of her life.
The three defendants were not charged in Smith's February 2007 death in a Florida hotel, which a medical examiner ruled was an accidental overdose of a sleep aid combined with the effects of a viral flu.
The case raised questions about ethical boundaries in a doctor-patient relationship, the prescribing of painkillers and anti-anxiety medicines and the use of fake names when treating celebrities.
The defense called only one witness -- an expert who concluded that Smith suffered from chronic pain, depression and anxiety, not drug addiction.
Her drug dependency was legal since it was for legitimate medical purposes, including for treatment of her pain and anxiety, defense lawyers argued.
The prosecution said the doctors never said no to Smith's drug-seeking because they wanted to be part of her celebrity entourage.
False names were used by Stern and the doctors to hide excessive prescriptions from the state's computer system that monitors drug usage, prosecutors argued. The defense said it is a common practice in Hollywood, used to protect celebrities' privacy from prying tabloid reporters.
Los Angeles County Superior Court Judge Robert Perry hinted before the verdicts were returned that if any defendants were found guilty, he would consider "possible selective prosecution issues" when sentencing them. He would have the power to reduce most of the felony charges to misdemeanors.
After the verdicts were returned, Perry set sentencing for January 6. Stern and Eroshvich could face a maximum of three years each in prison, according to the prosecutor's office.
The star-spangled light shows are an awesome summer tradition that provides a dramatic backdrop for music of all stripes. Thank Eric S. Elias for the subtle yet spectacular displays.
Fireworks explode over the Hollywood Bowl as the Los Angeles Philharmonic, conducted by John Morris Russell (seen on screens), performs July 2. (Jay L. Clendenin, Los Angeles Times / July 1, 2010)
By way of star-spangled patriotism and unabashed Americana, you'd have been hard-pressed over the weekend to find a more rousing celebration than the "July 4th Fireworks Spectacular" at the Hollywood Bowl. On Friday, Saturday and Sunday nights, the Los Angeles Philharmonic, backed by the U.S. Air Force Band of the Golden West, ran through a program of music designed to swell national pride — "The Battle Hymn of the Republic," "God Bless America" — with a guest set by country superstar Vince Gill.
Then came the finale: More than 10 minutes of eye-popping pyrotechnics perfectly synchronized to a brassy medley of military marches by John Philip Sousa.
The sky above Hollywood bloomed with colorful explosions, with rockets leaving trails of brilliant illumination as they shot upward. It culminated each evening with the words "Liberty" and "Freedom" spelled out in golden sparklers above the band shell. Bowl fireworks have become a reliable tradition of summer's warmest months over the last four decades: a ceremonial practice that helps define the season for outdoor music lovers of all stripes, providing a dramatic visual counterpoint to the classical, and sometimes rock, country or world music.
"You bring a picnic and open some wine. You hear all this music and then the amazing fireworks," concertgoer Ted Herschel of Topanga Canyon said Friday night. "Is there a better way to spend a summer night in L.A.?"
The Bowl's fireworks programs require precision and even a little restraint not always associated with such explosive displays. The pyrotechnics are synchronized to "visually accent" the music — rather than distract from or overwhelm it — and extensive safety precautions are needed to head off any threat of fire in the arid landscape surrounding the amphitheater.
Heading the team is pyrotechnic operator in charge Eric S. Elias, a practicing entertainment attorney who this year marks his 32nd season working for the venue. He has come to rank among the top technicians in his field, instructing local fire departments and helping write the syllabus for state fire marshals on how to deal with theatrical pyrotechnics — in addition to overseeing a staff of around 30 people and personally designing and triggering the Bowl's fireworks displays.
"The crew that's here takes great pride in putting on these shows," Elias said, standing atop the Bowl's band shell recently. "We take it very seriously."
Although he works as a lawyer part of the time, Elias strenuously avoids the courtroom to concentrate on his main gig, overseeing pyrotechnics for venues throughout Southern California, including Los Angeles Memorial Coliseum, San Diego's Hotel del Coronado and the Santa Barbara Bowl. His preparations for the Bowl's June to September fireworks season begin months before any performances take place. Receiving digital recordings close to what will be played for a particular concert — performed by the same orchestra and led by the conductor on the bill whenever possible — he listens to every piece of music repeatedly until he pinpoints the precise moments that seem ripe for a fireworks launch. From there, Elias designs a "script," using a computer to plot out the size, volume and frequency of light volleys; selecting their various colors and deciding where to deploy the pyrotechnic devices around the Bowl's band shell and two adjoining rooftops.
The Bowl's pyrotechnics are custom-designed to detonate quietly (so as to not overwhelm the orchestra), traveling no more than 200 feet in the air. And every aerial burst is dictated by the pace and intensity of each musical selection.
"For the closing segment of 'Carmina Burana,' we put up a series of 84 flame balls in 12 seconds," Elias recalled. "We'll be doing Handel's 'Messiah' on July 6; there'll be a lot of silver and gold, wave patterns, a lot of large flourish devices. [Last year's performance by rock band] Death Cab for Cutie had a refrain that repeats throughout the song but builds in acoustical volume. We stayed in time with the music and increased in quantity to visually re-create increasing volume."
When the 74-year-old band shell was rebuilt in 2004, a vast infrastructure of scaffolds and walkways as well as a stairwell superstructure that traverses its distinctive concentric arches wereinstalled with fireworks deployment specifically in mind.
"Essentially, the new facility was designed so every horizontal surface could be used as a launching platform," Elias said.
It was a sound investment considering that the L.A. Phil puts on around 12 concerts involving fireworks each year, not including events sub-leased to outside performers. This summer, they include Tuesday's "Glorious Celebration" (the fireworks come in for Handel's "Hallelujah"), the "Tchaikovsky Spectacular With Fireworks" on Aug. 20 and 21, "Earth, Wind & Fire (Works)" on Sept. 3 and 4, and the "Fireworks Finale" on Sept. 10 through 12.
Counterintuitive although it may sound, Elias' — and by extension, the Bowl's — fireworks designs have come to be appreciated for their subtlety as much as their visual brilliance.
"Eric brings subtlety to something that is inherently spectacular," said Arvind Manocha, the L.A. Phil's chief operating officer. "The tendency of a crude person would be to throw up big bursts on every downbeat — you could do that. He realizes things have to be constrained. That's why patrons are sitting at these concerts saying, 'These are the best fireworks I've ever seen.'"
Of course, no one who performs at the Hollywood Bowl can actually see any of the pyrotechnics (save for the rockets' reflected glare on the audience). All the explosive charges are launched either from atop the band shell or the low buildings behind the stage. Nonetheless, the concerts are still viscerally thrilling experiences for members of the Philharmonic.
"It can be a real trip to be in the shell," said principal keyboardist Joanne Pearce Martin. "You've got giant bombs going off above where you're playing. We hear it like crazy, especially the low frequencies. It can be pretty smoky. If the wind is blowing in different directions, the smoke can come onstage. And it's a pretty powerful thing to watch the crowd, 18,000 heads being lit up in all these different colors."
Asked whether there were any downsides to such detonations during performances, Martin confirmed that many of her colleagues in the string section know to leave their Stradivarius violins at home when pyrotechnics are on the program. "They don't bring their best instruments to play at the Bowl because of the risk," she said.
The band shell blind spot almost became a liability for the platinum-selling alt-rock band Death Cab for Cutie, which performed at the venue last July. Unable to see the curtain of golden flame that began erupting atop the band shell during the group's set-closing number, "Transatlanticism" — and yet acutely aware that something "spectacular" was going on — curiosity nearly got the better of band members.
"We almost stopped playing to turn around and look," bassist Nick Harmer remembered. "People were slack-jawed and wide-eyed. And we're like, 'What's going on?' It took all of our energy to focus forward instead of wanting to turn back to watch it yourself."
Although this weekend's "Fireworks Spectacular" involved the use of 128 pyrotechnic cues and the deployment of thousands of individual fireworks, cutting-edge computer technology and dozens of strategically placed safety monitors stationed on roofs and in the area surrounding the venue for each performance, Elias made the process sound surprisingly simple.
"The aim is to try and be as evocative as possible of the mood the music creates," Elias said. "When you're dealing with pyrotechnics, you're painting with the dark as often as you're painting with the light." Source:Latimes Sponsor:Click2.info
The star-spangled light shows are an awesome summer tradition that provides a dramatic backdrop for music of all stripes. Thank Eric S. Elias for the subtle yet spectacular displays.
Fireworks explode over the Hollywood Bowl as the Los Angeles Philharmonic, conducted by John Morris Russell (seen on screens), performs July 2. (Jay L. Clendenin, Los Angeles Times / July 1, 2010)
By way of star-spangled patriotism and unabashed Americana, you'd have been hard-pressed over the weekend to find a more rousing celebration than the "July 4th Fireworks Spectacular" at the Hollywood Bowl. On Friday, Saturday and Sunday nights, the Los Angeles Philharmonic, backed by the U.S. Air Force Band of the Golden West, ran through a program of music designed to swell national pride — "The Battle Hymn of the Republic," "God Bless America" — with a guest set by country superstar Vince Gill.
Then came the finale: More than 10 minutes of eye-popping pyrotechnics perfectly synchronized to a brassy medley of military marches by John Philip Sousa.
The sky above Hollywood bloomed with colorful explosions, with rockets leaving trails of brilliant illumination as they shot upward. It culminated each evening with the words "Liberty" and "Freedom" spelled out in golden sparklers above the band shell. Bowl fireworks have become a reliable tradition of summer's warmest months over the last four decades: a ceremonial practice that helps define the season for outdoor music lovers of all stripes, providing a dramatic visual counterpoint to the classical, and sometimes rock, country or world music.
"You bring a picnic and open some wine. You hear all this music and then the amazing fireworks," concertgoer Ted Herschel of Topanga Canyon said Friday night. "Is there a better way to spend a summer night in L.A.?"
The Bowl's fireworks programs require precision and even a little restraint not always associated with such explosive displays. The pyrotechnics are synchronized to "visually accent" the music — rather than distract from or overwhelm it — and extensive safety precautions are needed to head off any threat of fire in the arid landscape surrounding the amphitheater.
Heading the team is pyrotechnic operator in charge Eric S. Elias, a practicing entertainment attorney who this year marks his 32nd season working for the venue. He has come to rank among the top technicians in his field, instructing local fire departments and helping write the syllabus for state fire marshals on how to deal with theatrical pyrotechnics — in addition to overseeing a staff of around 30 people and personally designing and triggering the Bowl's fireworks displays.
"The crew that's here takes great pride in putting on these shows," Elias said, standing atop the Bowl's band shell recently. "We take it very seriously."
Although he works as a lawyer part of the time, Elias strenuously avoids the courtroom to concentrate on his main gig, overseeing pyrotechnics for venues throughout Southern California, including Los Angeles Memorial Coliseum, San Diego's Hotel del Coronado and the Santa Barbara Bowl. His preparations for the Bowl's June to September fireworks season begin months before any performances take place. Receiving digital recordings close to what will be played for a particular concert — performed by the same orchestra and led by the conductor on the bill whenever possible — he listens to every piece of music repeatedly until he pinpoints the precise moments that seem ripe for a fireworks launch. From there, Elias designs a "script," using a computer to plot out the size, volume and frequency of light volleys; selecting their various colors and deciding where to deploy the pyrotechnic devices around the Bowl's band shell and two adjoining rooftops.
The Bowl's pyrotechnics are custom-designed to detonate quietly (so as to not overwhelm the orchestra), traveling no more than 200 feet in the air. And every aerial burst is dictated by the pace and intensity of each musical selection.
"For the closing segment of 'Carmina Burana,' we put up a series of 84 flame balls in 12 seconds," Elias recalled. "We'll be doing Handel's 'Messiah' on July 6; there'll be a lot of silver and gold, wave patterns, a lot of large flourish devices. [Last year's performance by rock band] Death Cab for Cutie had a refrain that repeats throughout the song but builds in acoustical volume. We stayed in time with the music and increased in quantity to visually re-create increasing volume."
When the 74-year-old band shell was rebuilt in 2004, a vast infrastructure of scaffolds and walkways as well as a stairwell superstructure that traverses its distinctive concentric arches wereinstalled with fireworks deployment specifically in mind.
"Essentially, the new facility was designed so every horizontal surface could be used as a launching platform," Elias said.
It was a sound investment considering that the L.A. Phil puts on around 12 concerts involving fireworks each year, not including events sub-leased to outside performers. This summer, they include Tuesday's "Glorious Celebration" (the fireworks come in for Handel's "Hallelujah"), the "Tchaikovsky Spectacular With Fireworks" on Aug. 20 and 21, "Earth, Wind & Fire (Works)" on Sept. 3 and 4, and the "Fireworks Finale" on Sept. 10 through 12.
Counterintuitive although it may sound, Elias' — and by extension, the Bowl's — fireworks designs have come to be appreciated for their subtlety as much as their visual brilliance.
"Eric brings subtlety to something that is inherently spectacular," said Arvind Manocha, the L.A. Phil's chief operating officer. "The tendency of a crude person would be to throw up big bursts on every downbeat — you could do that. He realizes things have to be constrained. That's why patrons are sitting at these concerts saying, 'These are the best fireworks I've ever seen.'"
Of course, no one who performs at the Hollywood Bowl can actually see any of the pyrotechnics (save for the rockets' reflected glare on the audience). All the explosive charges are launched either from atop the band shell or the low buildings behind the stage. Nonetheless, the concerts are still viscerally thrilling experiences for members of the Philharmonic.
"It can be a real trip to be in the shell," said principal keyboardist Joanne Pearce Martin. "You've got giant bombs going off above where you're playing. We hear it like crazy, especially the low frequencies. It can be pretty smoky. If the wind is blowing in different directions, the smoke can come onstage. And it's a pretty powerful thing to watch the crowd, 18,000 heads being lit up in all these different colors."
Asked whether there were any downsides to such detonations during performances, Martin confirmed that many of her colleagues in the string section know to leave their Stradivarius violins at home when pyrotechnics are on the program. "They don't bring their best instruments to play at the Bowl because of the risk," she said.
The band shell blind spot almost became a liability for the platinum-selling alt-rock band Death Cab for Cutie, which performed at the venue last July. Unable to see the curtain of golden flame that began erupting atop the band shell during the group's set-closing number, "Transatlanticism" — and yet acutely aware that something "spectacular" was going on — curiosity nearly got the better of band members.
"We almost stopped playing to turn around and look," bassist Nick Harmer remembered. "People were slack-jawed and wide-eyed. And we're like, 'What's going on?' It took all of our energy to focus forward instead of wanting to turn back to watch it yourself."
Although this weekend's "Fireworks Spectacular" involved the use of 128 pyrotechnic cues and the deployment of thousands of individual fireworks, cutting-edge computer technology and dozens of strategically placed safety monitors stationed on roofs and in the area surrounding the venue for each performance, Elias made the process sound surprisingly simple.
"The aim is to try and be as evocative as possible of the mood the music creates," Elias said. "When you're dealing with pyrotechnics, you're painting with the dark as often as you're painting with the light." Source:Latimes Sponsor:Click2.info
Kristen Stewart has four movies coming out in only 12 months. To say she is a busy Hollywood actress is an understatement. However, to be that busy and to create characters that bring the dynamics needed, there has to be certain decisions made.
CLICK HERE to see Kristen Stewart on the red carpet
In her latest movie, The Runaways, Stewart acts with a shorter hair cut style and she decided instead of a wig, she would make it the real deal. That left her work in Twilight Eclipse, which needed long hair and a wig. This interesting decision left her telling MTV that she could easily play the Twilight character without the right hair and use a wig as the character was so familiar.
What is it about “Jersey Shore’’ that people respond to? That awful hair? The awful tans? Those awful accents? All were on display Thursday as Pauly D, our favorite character not named Snooki on the MTV reality show, made a paid appearance at McFadden’s. Pauly, whose real name is Paul Delvecchio, fancies himself a DJ so he spun a few tunes for the folks who showed up to see him.
Seeing stars Fourteen-year-old Anthony O’Leary credits Ben Affleck and Kevin Costner for making him feel comfortable on the set of “The Company Men,’’ director John Wells’s fine new film about corporate downsizing. It’s the first film for O’Leary, who plays Affleck’s son. “While John was setting up scenes, Kevin played football with me and some other kids,’’ said O’Leary, who lives in Norton and goes to the Moses Brown School in Providence. “Ben just talked to me about normal stuff, asked me about my life.’’ The made-in-Massachusetts movie, which also stars Tommy Lee Jones, Maria Bello, and Rosemarie DeWitt, got good reviews at the Sundance Film Festival and a rave response at this week’s screening at the Coolidge. Another local actor with a plum role is Lance Greene, the bloodless lawyer who has pivotal scenes with both Affleck and Jones. Could this be a big break for Greene, who produced and starred in “On Broadway’’? “I do think it’s a step in the right direction,’’ he told us yesterday. “If people see that you’ve worked with that type of talent, it can open up a lot of doors.’’
In limbo Last year, “Late Night’’ writer and Newton native Brian Kiley uprooted his family, moving from New York to Los Angeles to join his employer - and former fellow CCD student in Brighton - “Tonight Show’’ host Conan O’Brien. Now, after just seven months, it’s all over, and Kiley isn’t sure what’s next, including how much severance he’ll receive. (You’ll recall that O’Brien reached a $45 million deal with NBC to exit the show and, of that, $12.5 million would be earmarked for his staffers.) “They haven’t told us,’’ says Kiley, who has written bits for O’Brien for 16 years. “I don’t know if they haven’t figured it out.’’ LA doesn’t feel like home, but Kiley says he’s reluctant to move his 12- and 14-year-old kids twice in a year. He told us he’s been touched by all of the pro-Conan rallies, and says he and other former staffers are looking forward to being back at work soon. “We’re hoping that [Conan’s] back on the air in just a few months.’’
Theater benefit The ART, Punchdrunk, and the cast of “Sleep No More’’ are doing a benefit performance of the sold-out show Wednesday. Proceeds will benefit Partners In Health’s relief efforts in Haiti. “I salute the artists involved in Sleep No More for making this contribution possible,’’ said ART artistic director Diane Paulus.
She draws a crowd So many handsome men, so little time. Hasty Pudding honoree Anne Hathaway enjoyed a feast with a group of Harvard fellows before bolting Boston. Following her Hasty fete, the Oscar-nominated actress joined the Harvard Krokodiloes - the university’s oldest a cappella singing group - for a dinner prepared by Henrietta’s chef Peter Davis. The menu included herb-crusted breast of chicken, grilled salmon, oven-roasted veggies, and, of course, a hasty pudding dessert.
DeCordova fete Neither rain, nor sleet, nor gloom of night could keep the crowd away from Thursday’s opening-night reception for the 2010 DeCordova Biennial at the DeCordova Museum in Lincoln. Over 1,100 people attended, including collectors Barbara Lee, Don Stanton, and John Shore: artists William Pope.L, Oscar Palacio, August Ventimiglia, Karin Weiner, and Laurel Sparks; gallerists Abby Ross and Kristen Dodge, Russell LaMontagne, Camilo Alvarez, and Howard Yezerski; and assorted others, namely the MFA’s William Stover, Skinner CEO Karen Keane, Art Forum’s Nuit Banai, and art critic Francine Koslow Miller. We’re told police had to turn away over 100 cars and some people parked a quarter mile away and hoofed it.
Around town Comedian Eddie Griffin’s doing his bit to stimulate the local economy. Griffin, who’s doing two shows at the Wilbur tonight, had a lengthy list of needs. The comedian’s rider included bottles of Veuve Clicquot, a carton - no, not just a pack - of American Spirit cigarettes, and a brand new pair of White Nike Air Force Ones. . . . Boston Blazers stars Nick Cotter and Kyle Ross joined the Sparks dancers to mingle with moviegoers at a screening of “From Paris With Love’’ at the AMC Loews Boston Common. . . . Onetime “Bond’’ girl Jane Seymour lunched yesterday at the new Legal C Bar at Legacy Place in Dedham.
Globe correspondent Nick A. Zaino III contributed. Read the Names blog at www.boston.com/namesblog. Names can be reached at names@globe.com or at 617-929-8253.
It's been dubbed the battle of the exes. In one corner stands a blowhard moviemaker whose latest project is a visual extravaganza with an eye-popping budget to match. In the other, his former wife, a respected director in her own right who has wooed critics with her unsentimental take on the Iraq war. With Oscar season looming, the question on tinseltown lips is, will the race for the coveted best picture statuette descend into a straightforward tussle between the former spouses?
In a showdown that could only have been scripted in Hollywood, Avatar director James Cameron appears almost certain to be pitted against ex-wife Kathryn Bigelow and her gritty Iraq drama The Hurt Locker.
Both films appear to be a shoo-in for the short list, raising the delicious prospect of Titanic director Cameron being denied another 'King of the World' moment by none other than his former wife. The fact that Cameron beat Bigelow to claim the Golden Globe for best drama has merely added spice to proceedings.
On paper, Avatar and The Hurt Locker couldn't be less alike. Featuring boundary-shattering 3D technology and stunning sci-fi vistas, Avatar is, depending on your opinion, either a tour de force in the tradition of The Ten Commandments and Star Wars or a depressing example of the movie industry at its most bloated. What can't be denied is that it's an epic slab of corn-ball.
Conversely, The Hurt Locker is the little movie that could. Released with no fanfare and with a largely unknown cast, it came in the wake of a series of flop Iraq movies. But Bigelow has proved you can make a decent Iraq film with commercial appeal. Perhaps the most striking thing about The Hurt Locker is its price tag -- $11m (€7.8m), less than one-twentieth of Cameron's $230m (€163m) Avatar.
"Cameron has been divorced more times than he's been nominated, he was bound to come face to face with an ex sooner or later," says Vincent Donnelly of website Movies.ie. "He and Bigelow are still good friends; they've worked together after their split in the early 1990s.
Cameron reportedly advised Bigelow to drop what she was working on to direct The Hurt Locker. So even if she wins the Oscar, he's going to take some of the credit for her success.
"A contest where former husband and wife are the frontrunners for the two big awards certainly adds some spice to the event," says Hollywood insider Steve Pond. "It's Hollywood and people love intrigue and gossip."
Publicly, both parties are playing down the potential for conflict. Since divorcing, Cameron and Bigelow have always insisted they remained on friendly terms.
"I would love to see The Hurt Locker get nominated and see her get the recognition she has deserved for a long time," said the five-times married Cameron. "Nothing would make me happier." Bigelow, for her part, has been tripping over herself to laud her ex, declaring Avatar one of her favourite movies of the year. "I've seen Avatar, and I love it, love it, love it," she told Entertainment Weekly. Perhaps her generosity can be explained by the fact that, if critics are to be believed, and notwithstanding the Golden Globes, the Hurt Locker is in pole position to be named best picture. It has already been given that honour at the Producers' Guild of America, LA Film Critics and American Film Institute awards and won Venice Film Festival Grand Prize (closer to home, it's been nominated for an IFTA).
Bigelow and Cameron were married for two years. Shortly after their split, he began a relationship with his Terminator II star Linda Hamilton, though that relationship eventually flamed out too. Today, Cameron is on wife number five, with actress Suzy Amis, who he met on the set of Titanic.
Joking about his colourful love life, Cameron said: "I've been divorced more times than I've been nominated (for the Globes). I don't really know which one is more awkward."
An Oscar-night triumph for Bigelow would be inevitably hailed as a major step forward for women in cinema. In the 75-year history of the Oscars, only three have even received best director nominations (Lina Wertmuller for Seven Beauties in 1976, Jane Campion for The Piano in 1993 and Sofia Coppola for Lost in Translation in 2003). And yet, in many ways, she makes for a peculiar role-model for female movie makers. Certainly her previous films -- action flicks like K19: The Widowmaker and Point Break -- have been as testosterone splashed as anything her one-time husband has made.
Speaking to reporters last week, Cameron insisted that he wasn't too bothered about winning the approval of the Academy of Motion Pictures (then again with Avatar on course to eclipse the record $1.8bn box take achieved by Titanic, why would he?).
"Do I think we'll get some nominations? Hell, yeah. For visual effects and things like that, I think we should be strongly considered for that," he told the QMI Agency. "The genre of this film isn't typically honoured by Oscar in the acting, directing and best picture categories.
"Not like Titanic, which was a historical drama and costume piece. So the stars don't quite line up in that way."
Some, though, see the impending Oscar face-off as nothing less than a battle for the soul of the movie industry. To such commentators, a victory for The Hurt Locker would prove that, even in this era of $200m budgets and deafening marketing campaigns, it is still possible for intelligent low-budget pictures to sneak into the mainstream.
Writing in the online magazine Slate, esteemed American movie critic Roger Ebert couched the tussle in apocalyptic terms.
"For all I know, James and Kathryn speak on the phone every day and wish each other's movies nothing but good fortune," he said.
"But anyone who's ever watched as a smug ex goes on to enormous success has to place him or herself squarely in Bigelow's camp."
